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No matter what they say at the show, Mike replied to us on Twitter about using both nights. And wearing the same clothes both nights mean they can use shots from both nights in the live release. Think this just means the 15th is the base of it all and the 16th is for supplemental/extra stuff if they happen to capture a better angle of something and want to sub it in, they can - etc. https://x.com/mikeshinoda/status/1858320271050174590

Linkin Park has uploaded a professionally mixed version of the live debut of Two Faced in Sao Paulo, Brazil. The audio was mixed by Ethan Mates and video comes from the live stream/filming of the event along with additional shots by Mark Fiore. Stay tuned as the band announced on stage that they will be airing a version that mixes both of these shows together in theaters in 2025, which could also leave to a full live release.

The band has posted a new LPTV episode from the recent run of shows in London, Paris, and Dallas, featuring the debut of 'Over Each Other' and 'Casualty', and more.

Show website says this is the only Southeast Asia show. Surprising that they would not visit Bangkok, Singapore, Taipei, etc. Maybe next world tour.

Sure. The guitar on APFMH in Bogota sounds literally like a cover band is playing it. The OSC riff in Dallas (and all other shows) sounds completely off. Is the entire key of the song changed? The guitar on this song also sounds like a cover band lol. He's playing the exact same guitar with same settings as Brad on LFY (Dallas), but the song sounds so muddy on guitar. Listen to the chorus guitar... it's muddy and sounds totally off. This is extremely noticeable in-person at the shows. But it's mostly the older songs. Faint (Dallas) is the same problem. Listen to Papercut (Warner show) - the guitar is so bad. On that one it's his rhythm, he sounds... chunky or something with the riff and not smooth like Brad. It's a totally different sound - Papercut has lost its punch live due to this. There are a million examples. I've seen 4 shows in-person this year and the guitar is atrocious by Alex, unfortunately, on the old material.

This is different than Sirius. With a free Pandora account you can't skip through it so we'll have to get a Pandora premium account to access this.

Pandora is currently hosting a "making of From Zero" station for Linkin Park where the band talks about songs on the album. Mike kicks it off by discussing how "Two Faced" was always a favorite for the band, especially Emily and Colin, but also Phoenix, when it was written. Listen here.

BBC Radio 1 has dropped an hour sit down with Daniel Carter and Mike Shinoda discussing the band's new album. This is quite a lengthy listen - check it out here. It begins about an hour in. ------------------- Some quotes with new info from the interview: Daniel: "You know, without being that guy, how much a fan I am of your band. And there was a little bit of trepidation on my part -- I'd rather be totally honest with you straight away -- and I think within, 4 bars, I was like... 'Oh, yeah, perfect!' and it makes perfect sense... It was just stunning." Mike: "I'm so glad that's the experience that you had and that I think a lot of folks have had. I think for me, I went through some of that a long time ago. In meeting Emily and Colin, and working with them over time and getting to know them over time, for all of us... the recreation of Linkin Park is not something we would ever take lightly. We tried a lot of things. We met a lot of people. Over time we were working on some things, in the beginning it was more about just spending time with each other and then we were inviting people in and playing around with different things with different people and different configurations of people in the room, and we ended up really enjoying our time with Emily and Colin, and we really enjoyed what they brought to the songs. It's a different kind of difficult for fans who have a certain relationship with the band... if you've got a tattoo of Linkin Park on you, you've got a certain relationship with the band and to try and re-invite those people in and ask for their understanding is not a small deal. And to make something that excites and impresses them - that's the other part that was such a delicate balance and dance." Mike: "When I wrote ['The Emptiness Machine'], it was a very very early part of the process. I had done a song for the last Scream movie called 'In My Head' - I think 'Emptiness Machine' was done, I had written it before that. I had a demo version of it, it felt SO Linkin Park. It was one of the things I had written where I was like, it can't be anything else. It's the only thing it CAN be. So I was gonna hold onto it. As I played it for the guys and they felt the same way, we started getting familiar with Emily and Colin. Once the album started really coming together, we made the decision to structure it that way... to me it was like if you're going to introduce me to somebody else, then the first thing I want to do is shake their hand and say 'Hey, it's good to see you,' and then I introduce you, and then we talk." Mike: "One thing you'll notice on this album is that there isn't any wasted space. All of the transitions from one to another are very snappy and short, and they really, for the most part, just fly right into the next thing with chaotic little... all of the transitional pieces that are not actually in the song are chopped up into bits and gritted out into the song in a way where they almost trip and fall into the next song. The exceptions are going into 'Overflow,' which is in the middle of the record, and going into 'Good Things Go,' which is at the end of the record. Those are the two because you need at those moments, something to almost like hit the ground and stop the pace. 'Casualty' being the highest intensity of the record to land into something that's very quiet and a little disorienting, I loved. I kinda found that little transition, created it, and really enjoyed it. In the beginning of the record, we wanted you to get a lot of stuff that felt signature Linkin Park, very core to our DNA. And once we established a bunch of that in the first three songs or so, then start giving you curveballs. And by the time you hit the middle of the record you get the most dramatic switch up. I just wanted to remind people that we're very much not a one-trick pony. We really enjoy to do so many different types of things. I love 'Casualty' and I love 'Overflow.'" Mike: "'Two Faced' was intended to be... the idea was to write something that would be pre-Linkin Park. Everybody thinks of Linkin Park like, we're here in 2024, what's this change, what's happening today? I wanted to remind them that there was a time in the band before we had ever met Chester, when me and my friend Mark were doing vocals. I wanted to do something kind of in that style, and that's how 'Two Faced' started." Mike: "Somebody asked me in a chat, 'Is 'Good Things Go' about something we'd expect, like Chester?' It's actually not - I love that phrase and I've tried it out a few different times in different demos for years, I had that phrase and I knew it was going to be a good song, but I didn't know if its going to be the chorus, a line in the chorus, or what. It found its home in this one... It was the band and Jake Torrey when we were -- Jake Torrey has been in and out of the studio with the band for a few years, I met him when I met Colin -- I told him and the band the line and they were like, 'that's the song.' The way we all kind of riffed how it crescendos up with Emily's voice, it felt so emotional. It's not about one thing... because there was a group of people in the room, everybody was pulling from different personal memories, so the song concept got kind of spread out between all of these different stories. Everybody kind of related to it in a different way and was suggesting different lyrics and things, and I kind of just synthesized all of that into words. The bridge of the song has a long triplet rap part, I think I did that maybe in 2019, I had wrote that? I pulled it up from my phone and tried it out over the bridge and it worked so well. That song went on quite a journey to get where it ended up." Daniel: "As it finishes, you have that orchestral part that links back to the intro... It's like an ouroboros, the whole thing goes 'round again. And the songs you've listened to already become recontextualized because you've now had a different framework since you've heard what's come after it." Mike: "When I wrote that outro, that very last swell you hear, it goes back into the choral... tons and tons of me and Emily singing this choir thing... the end of the record swells up, and if you play the album in loop, then it goes right back to the first sound you hear on the record. So it just loops on itself, which is a circle, which is a zero. The whole idea being that, not just the album can do that, but like, that's life. These cycles happen, and the experiences within the cycle might be the same they, they might be different. There's something to us, we feel like we're at the beginning of a new loop around."

Think it is his playing style. He's palm muting too much on APFMH, the riff is super quiet on OSC and the overall tone of those songs sounds off, like his rhythm is 97% and not 100% or something. It's just noticeably off. But he's nailing other stuff. You're always going to have a problem like this is Brad isn't on stage, no matter who it is they aren't going to get it exact because they didn't write it. Brad didn't play the other 2 songs from THP live so there's no reference point for it, so it sounds flawless to us of course.

No offense whatsoever to Alex but the band's sound guitar-wise is dramatically different with him. Some stuff he nails, like Keys and All for Nothing, but some of the older stuff with Alex sounds poor. APFMH, OSC, Points, Lying From You. They really need Brad. Of course Brad won't tour with a million dates out there but whenever he can join it would be really great.

AI is too unreliable to do this. We need exact quotes from the band and we need context of what they are talking about. Adding to it, they are repeating the same talking points in many interviews, so you have to know what was said before and in what sense they are saying it currently... if any differences exist, etc. It's a lot of work. But it's not TOO MUCH work, it just takes longer than a day or even a few days to get information added correctly. And we aren't always the fastest or best at it, but we'll get to it all eventually for sure. It's a labor of love. We'll definitely get the From Zero pages updated the best we can this month and next.

Guitar Player recently interviewed Brad Delson via Zoom about the creation of Linkin Park's From Zero album, Brad deciding to not tour with the band, and more. "Yeah, it’s a different experience. It's pretty cool in a way, ’cause I never got to see the show ever, in real time. If you’re onstage you don’t really get to see what’s going on. I remember being at the Forum and just watching it. We put a lot of love into the creative of the show. Even though I’m not onstage, I’m still intimately involved. I helped design the set list and the whole flow of the show, and every day we talk about the shows. It’s a huge labor of love." "I really love being in the studio, and I feel like that’s where I’m most energized and I really thrive and I contribute the most. For me, it’s about making authentic, clear decisions and wanting to bring great energy to whatever I’m working on. The band got successful when we were very young, and we kind of went on this rocket ship for 20 years. In the time that we’ve had off while we haven’t been putting out new stuff, I think everyone’s had the space and fresh eyes to think about what’s energizing. And I think for all of us the decisions to do what we’re doing come from a place of opting in as opposed to having it just be habitual. That’s also why everything sounds so fresh and inspired." Check out the full interview here.

Welcome to the newly established Trading Post on LPLive! We have created a new home for fans to trade merch for the band, inspired by the FROM ZERO Cassette Collection by Mike Shinoda where collectors are trying to collect all of the variants. Guidelines/rules: 1. LPLive is not responsible for any transactions or deals made in this sub-forum. Each trade is negotiated by members. 2. To engage in the trading, you do need a FREE forum account (this is literally solely to avoid spam bots posting as Guest members). 3. Simply make a new thread for what you have and what you are looking for, and good luck! An example would be: "Have 4 yellow cassettes - looking for the other 3 colors", etc. 4. Other merch items are allowed for sale/for trade in this sub-forum as well. All Linkin Park items & related items are allowed here. If you have any questions, please respond to this post! Enjoy!

We got Dylan, Anthony, Ben and Mark together to discuss From Zero, in what turned into about an hour and a half discussion on the album.

Papercut Breaking the Habit In the End Faint The Catalyst Numb

Toronto showing the USA how it's done and selling their show out immediately. Canada is moving.

Surprise! Mike Shinoda is hosting a Linkin Park 'From Zero' listening party today at 11:00 a.m. PST. You must have Spotify Premium to join. https://linkinpark.fm

Watching this today.

Great run in Brazil. The only mildly disappointing thing is not playing a song from The Hunting Party because 2024 is the year of that album lol. Keys would have been cool to have even like as a bonus on a DVD or something if they don't show it in theaters. Well, they could always still do that I guess. But they definitely threw the hardcore fans a bone with APFMH because that's such a legendary song for the fanbase.

The mix on the band's YouTube stream was so much better than the TV broadcast. The theater release is going to be amazing. Then they'll probably sell it.

Zero pit sold out in Legacy only. Passport Plus presales had access to pit for every Europe, UK, and North America show so far.

Endstage is for April and May arena shows. But due to demand they can sell seats behind the stage. The band will perform as normal for endstage, like 2008 - the setup isn't changed. They will do the 2024 usual 360 stuff for the mid-summer main North American leg. But the first April/May ones are between festivals hence no usual 360. Endstage with 360 seating is what it is. LPU is incredible - best presales ever today.

Usually by a few songs, yes.

The seating charts don't look updated on Ticketmaster. It would make zero sense to do back-to-back arena shows with 360 then endstage.

Well there are insiders here who said they are confirmed to play in Portugal, but it wasn't announced today. Could it be still announced later?